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Typographic Matchmaking in the City project, described the charge given to its organizers and designers as follows: Morcos and Schmal agreed that Schmal would wait to start sketching the Latin scripts until Morcos had generated his own initial designs for the Arabic.
For inspiration, Morcos turned to Kufic, the oldest form of Arabic writing. Kufic styles, which date back to the end of the seventh century, tend to have lower stroke contrast than other forms of Arabic script, like Naskh.
They are bolder, more linear and angular, and they rely more on vertical strokes. But unlike typefaces with similar features — FF Dax being maybe the most well-known — even the lighter weights of Kufam Latin have markedly less stroke contrast. Schmal included more obvious formal references to the human hand in a gentle curve on the longer strokes, and a slight glyphic flare at the terminals, producing a gently puckered, almost beaky corner where the short stems would otherwise have been.
These features are also present in the Arabic faces. The overall effect is to give Kufam more energy in its lowercase forms than Dax and other superficially similar typefaces have. The obliques also help to reinforce in the Latin faces the more modern sensibility that Morcos found in his Kufic sources.
Their key features are top-heaviness in letters like the B, P, R, and S, higher diagonal joins in the M and N, and the combinations of curved diagonal and straight vertical strokes in the A, K, V, and W. These features are attractive and distinctive, but not distracting, even in all-caps settings.
But Kufam Latin really is an attractive and well-made family of fonts, impressive particularly because of how skillfully they integrate features that might easily have become affectations.
But Kufam Latin, like the Arabic, is inspired by public lettering. I hope to see it in use in person someday. Maurice Meilleur is a recovering political theorist turned graphic designer and committed typophile.
He currently works and teaches at the University of Illinois at Urbana-Champaign, where he is also a student in the graphic design MFA program.I confess that part of my appreciation for Kufam in particular, and for the typefaces of the Typographic Matchmaking project generally, comes from their implied rebuke of kitschy “ethnic” display fonts, drawn (usually badly) to caricature the gestures of non-Latin scripts for Western audiences.
And I’m grateful for any project in which. The Typographic Matchmaking project (Arabic fonts and book), the Khatt online community (torosgazete.com), the Khatt Kufi and Kaffiya.
Watch video · The Typographic Matchmaking in the Maghrib short documentary is part “making-of” and part conceptual impression of the project. The film documents the.
The Typographic Matchmaking in the City book offers a brief range of essays that discuss the complex topic of public space from their respective authors’ individual experiences and perspectives.
Through specific anecdotes, they elucidate the problems and implications of designing for “public space” and multicultural communities. These essays frame and . Typographic Matchmaking in the City. For the Khatt Foundation in Amsterdam, we developed the concept and the graphic design of the publication report of the “Typographic Matchmaking in the City” project.
Typographic Matchmaking: Building cultural bridges with typeface design [Huda Smitshuijzen AbiFarès] on torosgazete.com *FREE* shipping on qualifying offers. This book is the result of the Arabic Type Design Project, and includes ten fonts.5/5(1).